Kismet

It may be forgotten now, but for a half-decade (approximately 1949 to 1956) Jose Ferrer was a MAJOR Hollywood star and considered one of our great actors. An Academy Award for his never-again-equaled Cyrano de Bergerac, starring appearances in MOULIN ROUGE, MISS SADIE THOMPSON, THE CAINE MUTINY, DEEP IN MY HEART, THE SHRIKE (all major films) and others prove this, but his movie "star" diminished and he later played mainly character roles in films (most notably in LAWRENCE OF ARABIA), while starring on Broadway, directing both films and stage productions, etc.

On the stage in later years he starred in MAN OF LA MANCHA and, although I can't find a reference to it right now, I recall his being announced to sing the lead in Puccini's comic opera GIANNI SCHICCHI, the latter possibly in Santa Fe. This surprised me as the only times I had heard him sing (as Sigmund Romberg in DEEP IN MY HEART, and on a record and in a TV appearance or two with then-wife Rosemary Clooney) he sounded like he mainly 'talked out' a song and could just about carry a tune. I missed this TV production of KISMET in 1967 and saw it for the first time last night. And surprise! surprise! Ferrer COULD sing, and quite well. His singing voice is very much his speaking voice (the same could be said for Ezio Pinza), but it is musical and he really does sing rather than just talk out his pieces. Furthermore, when he has to go for a top note, he gets a certain 'legitimate' and near-operatic quality into such notes. He'll never be mistaken for Robert Merrill, but he was really quite good as the beggar-turned-emir Haji, and acting wise, it was probably the most over-the-top performance of his since his fabled Cyrano (stage and film versions).

This TV production, though somewhat cut down to fit a 90-minute TV format, is very enjoyable throughout. Barbara Eden is hilarious and almost flamboyantly sexy as the Wazir's wife who lusts for every guy in sight but especially for Haji, this not quite expected from the ever-charming but comparatively laid back star of I DREAM OF JEANNIE. She's an excellent dancer, and owns a near-Merman-sized singing voice! Alberghetti is perfect as Haji's daughter, and she was kind of funny in a way because she speaks perfect American English throughout, but seems to always have a slight accent when she sings. Doretta Morrow on Broadway was the essence of young femininity in this role: Alberghetti came close, which is a high compliment from me, as I loved Morrow.(I recall Alberghetti's initial TV appearances as a 14-year-old soprano in 1950; it looked like she might have a terrific career in Opera, but she chose - wisely, probably - to go into musical theater and straight acting. She won a Tony for CARNIVAL.) And my only experience with Chakiris as a singer was in the film WEST SIDE STORY, where his singing is not very notable, especially in comparison to his dancing, but he also shows a pretty solid and 'legitimate' voice ranging between high baritone and low tenor (very similar to Richard Kiley's in the original 1953 stage production of KISMET). Hans Conried, excellent as always as a comically murderous Wazir, rather makes you sorry that this character must be killed off in the end, but in keeping with the situation, he dies in a comical way.

Anyway, I found this a totally enjoyable viewing experience and only wish it could have been given more air time in order to see the musical presented in complete form. But mostly I enjoyed it because it dispelled my impression that Jose Ferrer couldn't sing. He could, he could!

Where do I start in my discouragement of watching this live television production of Kismet? The only reasons why you should find a copy of it are if you want to hear George Chakiris sing, or if Barbara Eden is your all-time favorite and you want to see her rendition of "Not Since Nineveh". It's not awful. George has a nice voice, but choreographer Jack Regas didn't know what to do with his talent and he literally walked through the dance numbers.

I was very excited to see this musical, since I knew José Ferrer was in Man of La Mancha at around the same time. Seeing and hearing his musical talent would undoubtedly be a treat full of energy and presence, like it was in 1954's Deep in My Heart. Something must have happened to him in the past fifteen years, because it was as if he was a completely different actor. Gone were his energy, enjoyment, and desire to engross the audience with a unique rendition. He seemed bored, tired, irritable, and wishing he were anywhere else but in front of the CBS television camera. The starring role in Kismet is a fun, frisky role that an actor can completely ham up to get laughs. Alfred Drake mesmerized listeners with his Broadway recording, and Howard Keel was irresistible in the 1953 Hollywood adaptation. Joe was just lousy. I can't imagine him as Don Quixote after seeing his lackluster performance as Hajj.

He wasn't the only one, though. Director Bob Henry must have told everyone to slow the musical numbers down to stretch out the running time. He must have told his cast to walk through it as if it were a lighting rehearsal. Perhaps he hated the sponsors and wanted their sales to go down. Even Hans Conried, who put tons of energy into The 5,000 Fingers of Dr. T was lackluster in his comedic song. Regas's choreography in every number, down to the most basic gestures, was terrible, and Henry's position of the cameras were hardly inspired. Believe me, I don't enjoy writing a scathing review, but sometimes there's just nothing good to say.